Look, I'm gonna be blunt – that dreamy contemporary stuff might work great in your home studio, but competition is a whole different beast. Just last week I had to break it to one of my advanced students that her beautiful routine to some ambient track wouldn't cut it in Classic. Eight years of judging these things, and I still see people shooting themselves in the foot with music choice.
Competition rules exist for a reason, and they will dock points faster than you can say "but it's artistic." I've watched incredible athletes tank their scores because they picked songs that were too slow, too experimental, or straight-up didn't meet division requirements.
Back in Vegas, I learned real quick that tempo can make or break your movement quality. Same applies in competition – if you're doing a strength-heavy routine, you need beats that let you hit those holds clean. Not that wishy-washy stuff where judges can't tell if you're pausing or just lost count.
The number of times I've had students come in with some TikTok-inspired song choice… Look, social media routines are cute and all, but competition is technical. You need music that showcases YOUR skills, not what looked cool in someone's filtered reel.
Real talk about licensing too – seen too many last-minute panics when people realize their perfect song isn't cleared for competition use. Nothing worse than rebuilding a routine two days before competing because you didn't check the music guidelines.
Quick points because I see these mistakes constantly:
- Check your division's BPM requirements FIRST
- Make sure you can actually hear the beat
- Watch those song lengths – going overtime is amateur hour
- Licensed music only – don't try to sneak around this
- If you're doing Classic, stick to classic. Not everything needs to be "innovative"
And for heaven's sake, practice with your competition music from day one. Not the day before. Not the week before. From. Day. One. The number of injuries I've seen from people trying to adjust to new timing last minute… just don't.
Key Takeaways
*sigh* Let me save you from some music disasters I've seen lately…
First – STOP using whatever random song you found on YouTube. Competition judges will DQ you faster than that time I had to kick out a drunk bachelor party. Get proper licensed tracks at 320kbps or don't bother showing up.
About timing – 3:30 to 4:00 minutes. Not negotiable. Had a student last week try to squeeze a 5-minute routine into comp time by just "dancing faster." Guess how that went?
For tempo – this is where I see people really mess up. Just because you saw someone kill it to drum & bass on Instagram doesn't mean YOU should:
- Beginners: Stick to 60-90 BPM. Yes, it feels slow. That's the point.
- Intermediate: 90-120 BPM. And no, three months of classes doesn't make you intermediate.
- Advanced: 120-140 BPM, and if you have to ask if you're advanced, you're not.
MAJOR SAFETY ISSUE – you NEED recovery sections in your music. Can't tell you how many times I've seen someone try to power through three minutes of non-stop tricks because their music has no breaks. That's how shoulders get wrecked.
For categories:
- Dramatic: Actually tell a story, don't just make sad faces
- Classic: Instrumental doesn't mean boring
- Exotic: Clean edits required – learned that one the hard way at my first comp
Music editing – please for the love of god use actual software, not some phone app. And TEST YOUR CUTS. Nothing worse than watching someone freeze on stage because their music transition caught them off guard.
Got injured students to deal with – but basically, pick music that matches your REAL skill level, not your aspirations. Your body will thank you.
Understanding Competition Categories and Their Musical Requirements
Look, competition categories aren't as complicated as some Instagram "experts" make them out to be, but you better know exactly what you're getting into before you sign up. I'd a student last week who showed up with this ridiculous dubstep mix for a classic division – complete waste of her training time.
KNOW YOUR CATEGORIES AND MUSIC REQUIREMENTS. I'm tired of seeing people scramble last-minute because they didn't read the rules. Dramatic routines need music that actually tells a story – 3:30 to 4 minutes, and for god's sake, pick something that matches your skill level. Had a girl try to dance to Requiem for a Dream once. Technically brilliant song, but she couldn't handle the intensity and nearly slipped during her jade split.
Classic division? Keep it clean, instrumental, and technically focused. I see too many people trying to throw emotional faces while missing their basic lines. Exotic's where you can play with those sultry tracks, but remember – most competitions want radio edits. Lost count of how many times I've had to tell students their music got rejected because they didn't check.
Contemporary's interesting – more freedom with music choice, but I swear if I see one more routine copied straight from TikTok… Your music needs to work WITH your choreo, not the other way around.
Quick note on BPM – check the damn requirements. Had three students get disqualified in Vegas back in 2019 because they ignored tempo restrictions. Don't be that person. Most competitions post their rules months in advance. Read them.
And please, for everyone's sake, test your music on actual studio speakers before competition day. Your iPhone doesn't count as proper sound check. Trust me, that tinny laptop speaker isn't giving you the full picture of what judges will hear.
How to Match Music With Your Dance Style and Skill Level
Look, I'm gonna be real – your "dance persona" isn't something you need to overthink. Half my students come in trying to be these dramatic, sultry creatures they saw on Instagram, then can't even do a proper climb.
Your style needs to match what your body can actually DO.
Had a student last week try to dance to some crazy fast EDM track when she could barely hold herself up. Almost face-planted trying to match the tempo.
SPEED DOESN'T MAKE YOU LOOK MORE SKILLED – IT JUST MAKES YOUR MISTAKES FASTER.
From what I've seen (eight years teaching, plus my time at Sapphire), beginners should stick to 60-90 BPM until they've got solid fundamentals.
That's not me being mean – that's me not wanting to see you hurt yourself. You need time to think through your movements, especially when you're learning combos.
Once you've got clean transitions and actual control – not just throwing yourself around the pole – then we can talk about pushing tempo.
120-140 BPM is fine for advanced moves IF you've built up the strength and muscle memory.
But I swear, if one more person comes in trying to copy some 160 BPM TikTok routine…
Bottom line: Pick music that gives you space to breathe. Better to nail a simple routine to a slower song than flail through something fast and fancy.
Your "persona" will develop naturally once you've got the basics down. Focus on form first. The flow comes later.
Identify Your Dance Persona
Look, picking your music isn't about being "fierce" or "sensual" – it's about what you can actually DO safely on that pole. I'd a student last week try to dance to this intense dubstep track when she could barely hold a basic spin. Ended up wobbling all over the place and nearly crashed. Not cute.
Let's get real about this – STOP trying to copy whatever dramatic routine you saw on Instagram. Start by being honest about where you're at skill-wise. Can you hold a solid climb? Great, work with that. Still struggling with basic spins? Then you need music that lets you focus on technique, not something that's going to make you rush your moves.
I see it all the time in my studio – people pick these complex songs with sudden tempo changes when they haven't even mastered transitioning between basic moves. Back in Vegas, I learned real quick that trying to dance beyond your skill level is how you get hurt. Your "persona" doesn't mean shit if you can't execute moves safely.
Film yourself practicing – and actually WATCH it. Not for social media, for your technique. You'll probably notice you're rushing transitions or losing form when you try to get fancy. Pick music that matches where you're at RIGHT NOW, not where you want to be in six months.
If you're solid with slow flows, awesome. If you need those clear beats to stay on tempo, that's fine too.
The best dancers I know spent years mastering basics before developing their "style." Your authentic movement will come naturally once you've got the fundamentals locked down. That's just how it works.
Matching Tempo To Tricks
Look, music tempo isn't just some random thing you can ignore – it will straight up make or break your tricks. I'd a student last week try to nail an Ayesha to "Industry Baby" and nearly ate it. Just… no.
SLOW IT DOWN (60-90 BPM) when you're working anything inverted or flexibility-based. I'm talking about your Jade splits, your shouldermounts, your drops.
Can't tell you how many times I've seen someone rush an inversion because they picked some EDM track and think they need to match it.
Mid-tempo (90-120 BPM) is your friend for flow work. Had an advanced student nail a beautiful combo yesterday because she finally stopped fighting the music and just let it guide her transitions. That's what we want.
Fast stuff (anything over 120) – sure, it's great for spins and climbs, but I'm seeing way too many beginners jumping into fast tracks before they've the endurance. Just because you can do one spin doesn't mean you can chain them for three minutes straight.
Had to ice someone's shoulder last month because they wouldn't listen about this.
When you're putting your routine together, actually COUNT YOUR BEATS. Don't just wing it. Your hardest moves need breathing room – put them where the music gives you space.
I learned this the hard way back at Sapphire when I tried cramming a split grip deadlift into a chorus drop. Terrible idea.
And for god's sake, leave recovery time between your power moves. I don't care how strong you think you're – your body needs those breaks.
Been teaching for 8 years now and the biggest injuries I see are from people trying to chain hard tricks without rest because they picked music that's too fast.
Popular Music Genres That Work Well for Pole Routines
Look, music can make or break your routine, and I'm tired of seeing students pick tracks that set them up to fail. Contemporary pop seems safe, but half these songs have weird tempo changes that'll mess you up mid-invert – saw it happen last week when Sarah picked that new Taylor Swift track without checking the bridge section first.
Always run through your full song standing on the ground before getting on the pole.
Classical-modern fusion stuff? Fine for showcases, but I've had three different students eat it trying those dramatic pauses they weren't ready for. Back in Vegas, I learned real quick that you need predictable beats when you're learning new moves. Your body needs that rhythm to stay safe.
Alternative rock can work great once you've got solid fundamentals – emphasis on ONCE YOU'VE GOT FUNDAMENTALS. The heavy bass is perfect for power moves, but I'm not letting anyone try those dramatic drops until they can hold a basic invert for at least 30 seconds.
Had a girl last month try to copy some TikTok routine to Linkin Park and nearly dislocated her shoulder. Not in my studio.
Bottom line: pick something with a consistent beat pattern when you're learning. I don't care if it's "boring" – boring keeps you safe. You can get fancy with the music after you've mastered the moves.
And for god's sake, actually listen to your whole song before getting up there – can't tell you how many times I've had to spot someone who got surprised by their own music choice.
Contemporary Pop Hits Today
*sigh* Look, I need to talk about music because I keep seeing students pick tracks that are straight-up dangerous for their skill level. These new pop hits can work great, but you better know what you're doing first.
"Levitating" and "Blinding Lights" are solid choices IF – and this is a big if – you've already mastered your basic spins and transitions. Had a student last week try a shoulder mount to "Anti-Hero" without proper prep and nearly ate it. DO NOT attempt inverts to music until you can do them safely in silence.
Real talk about current tracks:
- They're faster than you think
- That trap beat will mess with your timing
- Electronic drops tempt people into tricks they're not ready for
I spent enough years working Vegas main stages to know good performance music. These new pop tracks are fine once you've got your fundamentals down. But if you're still working on basic climbs and spins, you need slower tempos. Period.
Song picks:
Beginner – stick to 110-120 BPM until your form is solid
Intermediate – can handle up to 128 BPM with clean transitions
Advanced – sure, go wild with Doja Cat, but ONLY if your strength moves are consistent
And please, for the love of god, check your song lengths. Nothing worse than running out of steam halfway through because you picked a 4-minute track when you've only trained with 2-minute routines.
Edit: Had to add this because I just watched someone try it – do NOT attempt a ayesha to that drop in "Blinding Lights." Just don't.
Classical Meets Modern Dance
Look, I need to talk about music choices because I'm tired of seeing people try complicated moves to tracks that'll get them hurt. Classical fusion can work great for pole – I've used it myself plenty – but you need to understand WHY you're picking each piece.
Back in 2015, I'd this student try an Ayesha to some chaotic violin-dubstep thing she found on YouTube. Nearly dropped straight on her head because the beat kept changing randomly. This isn't about showing off how "artistic" you're – it's about picking music that actually supports your movement patterns.
Classical remixes can work really well IF you know what you're doing. Bach's "Air on G String" with subtle electronic elements? Perfect for slow controlled inversions because you can actually feel the steady rhythm.
But I've seen too many beginners pick something like Apocalyptica thinking "oh cool, dramatic music" without understanding how to match their timing to it.
Quick reality check: Those Instagram routines you're trying to copy? They edited their music AFTER filming. In real life, you need predictable patterns.
When I'm teaching advanced students, I make them break down every single transition point in their music before they even think about choreographing.
And please, for the love of god, stop trying to do power spins to piano covers just because it looks pretty on TikTok. I'd to ice someone's shoulder last week because they didn't respect momentum.
Your body needs consistent musical cues to maintain control.
Pick something where you can clearly feel the builds. If you can't count the beats while doing basic spins, it's not ready for aerial work. Simple as that.
Dark Alternative Rock Selections
Look, dark alternative rock is solid for pole, but I need to address something first – DO NOT attempt power moves until you've mastered the basics.
Just yesterday I'd to stop a new student from trying to throw herself into an inverted crucifix because she saw it on TikTok with some Tool song.
Nine Inch Nails, Rammstein, Tool – great choices, but they can trick you into thinking you're ready for advanced moves when you're not. The complex rhythms are perfect for controlled sequences, but that's exactly it – CONTROLLED.
I've seen too many injuries from people getting carried away with the music's intensity.
A Perfect Circle's "The Outsider" is one of my go-tos for intermediate classes. The build-up gives you time to properly set up your transitions – something I barely see anymore with everyone rushing to copy 15-second social media clips.
Deftones' "Change" works well too, especially for strength combinations, but only if you've got the fundamentals locked down.
Had a student last week who wanted to choreograph to a Rammstein track – great choice, except she couldn't hold a basic invert for more than two seconds. Longer songs are fantastic for showcasing skills, but you need to actually HAVE those skills first.
For competitions – sure, look for tracks with distinct sections. But if you can't nail your basic moves without the fancy music, no amount of dramatic choruses will save your routine.
I've judged enough showcases to know the difference between someone who's put in the work and someone who's just picking dramatic music to cover up weak technique.
And please, for the love of god, stop trying to match every beat. Sometimes the best moments come from working against the music.
Back at Sapphire- well, that's another story for another time.
Tips for Editing and Cutting Your Competition Track
Look, music editing isn't some Instagram-perfect process where you just slap together your favorite beats. I've seen WAY too many students show up with poorly cut tracks that completely throw off their flow and timing.
Just last week, had a student who clearly used some free phone app to butcher her song – couldn't hit a single transition right because the beats were all over the place.
You need actual editing software. Not your phone, not some sketchy free website. Real software. I don't care which one, just something professional that lets you work with precise timing.
Competition tracks are typically 3:30 to 4:00 minutes. Don't try to squeeze in a 5-minute epic – I've seen judges' faces when routines run long, and trust me, you don't want that energy.
Back at Sapphire, I learned real quick that timing is everything.
Here's what matters:
Cut your music at natural breaks – seriously, I can't stress this enough. Nothing worse than watching someone build up to a big trick while their music awkwardly cuts mid-vocal. Your transitions should feel intentional.
Put your peak moment about two-thirds through. That's when you're hitting your biggest combo – make sure your music matches that energy.
I'd a student last month try to put her hardest sequence right at the start. Guess what happened? Burned out halfway through and the rest of her routine fell flat.
And for crying out loud, TEST YOUR CUTS during practice. Actually dance to it, multiple times. The number of people who show up to comp day having never properly run their routine with their edited track… just… no.
Remember: your music edit can make a decent routine look messy or a simple routine look professional. Choose wisely.
Creating Emotional Impact Through Musical Selection
Look, music can make or break your routine, and I'm tired of seeing students pick tracks just because they're trending on Instagram. After eight years of performing in Vegas, I can tell you – your audience knows when you're not feeling it.
Don't come at me with that "but it has a good beat" nonsense. I'd a student last week try to force a heavy metal track that clearly made her uncomfortable, and guess what? Her transitions were stiff, her flow was off, and she couldn't hit her marks. Pick something that actually means something to you.
And for god's sake, stop trying to choreograph to those choppy TikTok remixes. You need proper musical phrases to build a routine. I've seen too many awkward stops mid-sequence because someone didn't bother to check if their music actually works for a full performance.
Want to nail those dramatic moves? Make sure your music has actual dynamics. Had a competition student pick this flat, monotone track – nothing to work with. No builds, no drops, nothing. Might as well have been dancing to a metronome. Your music needs to give you somewhere to go.
Quick reality check on contemporary routines – if you're going for emotional impact, you better actually understand the piece you're using. Just this morning, had someone using this intense classical piece about grief for what was basically a sexy chair dance. Know your music's context.
One thing I learned real quick at Sapphire – vocals aren't always your friend. Sometimes they distract from what your body's doing. Test your tracks in practice. If you're constantly fighting the lyrics, find something else. Your movement should work WITH the music, not against it.
And please check the competition rules BEFORE falling in love with a track. Nothing worse than having to scrap weeks of choreo because you didn't read the fine print about explicit lyrics or time limits.
Technical Considerations When Choosing Competition Music
Let me tell you about competition music because I'm tired of seeing students show up with tracks that'll get them DQ'd or make them look amateur.
First off – YOUR MUSIC NEEDS TO BE COMPETITION-LEGAL. I can't tell you how many times I've had students come in with explicit tracks they found on TikTok, thinking they can just edit out the cursing. That's not how this works.
Had a student last week trying to use some choppy phone edit that sounded like it was recorded underwater. Competition requirements aren't suggestions. I learned that back at Sapphire when I first started competing – showed up with a 5-minute track and got cut off mid-routine. Embarrassing and totally preventable.
Technical stuff you absolutely need to handle:
- Length: Most comps want 3:30-4:00. Don't argue, don't try to squeeze in longer. They WILL cut your music.
- Quality: Minimum 320kbps. If you don't know what that means, learn. Nothing worse than your music sounding like it's playing through a tin can when it hits the venue speakers.
- Beat structure: This isn't your bedroom practice session. You need clear beats for tricks, especially iron X's and shoulder mounts. Had a student bomb her routine last month because her "artistic" track had no discernible rhythm.
Test your music through different speakers, not just your AirPods. Go to the studio when it's empty and blast it. Stand in different spots. If you can't hear the beats clearly from across the room, neither can the judges.
And for god's sake, don't come to me two days before competition asking for music advice. This should be sorted months in advance during your routine development. Getting real sick of last-minute panic over basic prep work.
Copyright and Licensing Guidelines for Competition Songs
Look, music licensing is a pain in the ass, but it's part of running legitimate competitions and performances.
I've seen way too many students show up with illegal downloads or thinking their Spotify account covers performance rights. It doesn't.
DO NOT just rip music from YouTube or use some sketchy download site. I'd a student last week who almost got disqualified because she thought buying the song on iTunes meant she could perform to it.
Eight years of competition experience here – it doesn't work that way.
Real talk: Most competitions will check your licensing. They've to – it's their asses on the line too.
Back in Vegas, we'd strict rules about music rights, and competitions are even more serious about it. You need either a performance license or direct permission from whoever owns the rights.
Here's what actually works:
- Buy your music legally (iTunes, Amazon, whatever)
- Get a PPL license if you need one
- Use platforms like Epidemic Sound that actually include performance rights
Had a student last month crying backstage because she couldn't use her routine music – all that training wasted because she didn't check the licensing requirements first.
Don't be that person.
Some competitions handle the licensing for you, but don't assume. CHECK FIRST.
Nothing worse than having to change your music last minute because you didn't read the fine print. Trust me, I've seen it happen way too many times, and it usually tanks the whole performance.
If you're serious about competing, budget for proper music licensing. It's not cheap, but neither is wasting months of training because you tried to cut corners on music rights.
Frequently Asked Questions
How Do I Overcome Stage Fright When Performing to a New Song?
Look, after eight years of watching students freeze up at the pole, I'll tell you straight – muscle memory is your lifeline. Had a student last week try a basic invert without drilling her prep work, and guess what? Complete mental blank when she got up there. DO NOT freestyle new moves without proper prep.
Practice until your body can run on autopilot. I'm talking mindless, could-do-it-in-your-sleep kind of practice. And none of that visualization-only nonsense I keep seeing on Instagram. Your body needs to actually FEEL the movement patterns.
Breathing helps, sure, but you know what helps more? Knowing your shit cold. Had a client back in 2015 at Sapphire who'd practice her routines for hours before even thinking about stage time. Smart girl. She never blanked because her body just knew what to do.
If you're getting stage fright with new choreography, you probably rushed it. Simple as that. Go back, break it down, drill each transition until it's boring. Your nerves aren't the problem – your prep is.
And for god's sake, stop trying to throw in fancy tricks you saw on TikTok at the last minute. That's how people get hurt. Stick to what your body knows, what you've actually trained for. The rest will come with time and proper progression.
Can I Use Instrumental Versions of Popular Songs in Competitions?
*Sighs heavily*
Look, music rules are a massive headache in competitions, and I've seen too many students get DQ'd over this stuff. Had a student last month who spent weeks perfecting her routine to an instrumental version of "Bad Guy" only to get shut down at registration. Total waste of training time.
CHECK THE RULES FIRST. I cannot stress this enough. Every competition has different requirements – some are cool with instrumentals, others want strictly original compositions. And don't even get me started on the licensing nightmare. Back at Sapphire, we had to deal with ASCAP reps constantly, and trust me, you don't want that headache.
Most comps have specific time requirements too – usually 3-4 minutes. But I've seen everything from 90 seconds to full 5-minute routines. If you're serious about competing, read the damn rulebook before you even THINK about choreographing.
And please, for the love of god, don't just rip something off YouTube and hope nobody notices. I've watched too many talented performers get disqualified over music rights. Either pay for proper licensing or find royalty-free alternatives. Your hard work deserves better than getting thrown out over paperwork.
Bottom line: Do your homework on this stuff. Nothing worse than watching months of training go down the drain because you didn't read the fine print on music requirements.
What Should I Do if My Music Stops Playing Mid-Routine?
Look, music cutting out happens – I've seen it a hundred times both in my studio and back at Olympic Garden. Don't freeze up or panic. Just keep moving. Your safety comes first, so maintain control of whatever move you're in.
Had a student last week completely bail on her routine when the speaker crapped out. Just dropped from her climb and walked off. That's actually MORE dangerous than just finishing the sequence properly. Plus, it's totally unnecessary – judges have seen every technical problem imaginable.
If you've prepped properly (which you better have), you know your routine's timing in your muscle memory. Use it. When I'm teaching advanced classes, we sometimes drill without music specifically for this reason. You'd be amazed how many Instagram-trained dancers fall apart without their exact song.
Keep your breathing steady and focus on clean lines. The audience honestly cares way less about the music than you think. I've seen gorgeous routines performed in dead silence and sloppy ones with perfect audio. Guess which ones scored better?
Just don't do anything stupid like trying to restart the music yourself mid-invert or rushing to finish faster. I had to ice a student's shoulder last month because she panicked and rushed a drop when her phone died. Not worth it.
How Early Should I Submit My Competition Music to Organizers?
Look, submit your music AT LEAST 3 weeks before. And I mean AT LEAST. Had a student last month wait until 5 days before her comp – guess who was freaking out when the file wouldn't upload properly? And of course she blamed the competition organizers, because nobody ever wants to take responsibility for their own lack of planning.
I've seen way too many good routines get messed up by last-minute music drama. Back at Sapphire, we always had backups of backups, and that mindset saves your ass in competitions too.
Most organizers say 10-14 days minimum, but they're being nice. You need buffer time for when things inevitably go wrong. And they will go wrong – corrupted files, wrong format, sound quality issues, whatever. Had a student last week who thought she could just rip her music straight from YouTube. No. Just… no.
Don't be that person scrambling backstage trying to get your music to work while everyone else is warming up. It's unprofessional and completely avoidable. If you're serious enough to compete, be serious enough to handle the basics properly.
And please, for the love of god, test your music on different devices before submitting. The number of times I've seen perfectly good routines ruined because someone's track only worked on their phone…
Submit early. Test thoroughly. Have backups. This isn't rocket science, people.
Are There Specific Songs That Judges Tend to Score Higher?
Look, I'm gonna be straight with you – judges don't give a damn about specific songs. What they care about is how well you work with whatever music you've picked. Just yesterday I had a student come in convinced she needed some epic orchestral piece because she saw it on Instagram. No. Stop.
What actually matters is picking music YOU can hit properly. Like, I watched a competition last month where this advanced student absolutely killed it to freaking Britney Spears while Miss Professional with her artsy experimental track kept missing her beats.
Safety warning: rushing transitions to match fancy music is how people get hurt. I've seen it happen too many times, including back at Sapphire when dancers would try to force moves they weren't ready for just because the song demanded it.
Here's the real deal: Pick something that lets you:
- Actually hit your transitions cleanly
- Show off the moves you've truly mastered
- Keep a steady flow without rushing
- Match the energy level you can maintain
And please, for the love of god, test your song with full runs before competition day. Nothing worse than watching someone realize halfway through that their chosen track is too fast or too slow for their stamina level. Saw three people crash and burn at regionals last month doing exactly that.
Bottom line: It's not about the song. It's about you showing clean, controlled execution that proves you actually know what you're doing. Everything else is just noise.
Conclusion
Listen, picking competition music isn't rocket science, but I'm watching way too many students sabotage solid routines with terrible song choices. Had a girl last week try to dance to some chaotic EDM track – couldn't find the beat if it slapped her in the face, and her transitions looked messy as hell.
SAFETY FIRST: Your music needs a consistent rhythm you can actually count. Period. I don't care how much you love that experimental jazz piece – if you can't time your transitions properly, you're asking for trouble. Saw someone rush a shoulder mount because their music suddenly changed tempo. Guess who ended up with a pulled muscle?
Back at Sapphire, we learned real quick that unpredictable music equals sloppy movement. That principle holds true whether you're competing or not. Your body needs to know exactly when to engage and release.
I'm tired of seeing Instagram-inspired routines where people pick songs just because they're trendy. Half these competitors can barely hit basic moves on beat, but they're trying to sync with some complex violin solo because it looks "artistic." Start with something straightforward until you actually understand musicality.
For dramatic division: Pick something with clear phrases. You need those natural pauses for your power moves. Classic division? Don't get cute – go with something that lets your lines shine. Nothing worse than watching someone fight their music through an entire routine.
Nobody cares if your song is unique if you can't execute safely. I've judged enough competitions to know – clean technique to simple music beats risky moves to complicated tracks every single time.
And please, for the love of god, test your music at full speed in practice. That slow, sexy song might feel amazing when you're marking movements, but try holding those splits when it's actually playing at tempo. Your body will thank me later.